Cultural scientist Angela McRobbie, who has been following Turanskyj’s work for a long time, introduces the material. The script is supplemented by preparatory material for the shoot from the filmmaker’s estate and by unpublished film clips.

“The first inspiration for my film was Richard Sennet’s book ‘The Corrosion of Character’. Sennet describes the harsh demands of postmodern capitalism on the individual. […] The more affirmative female characters – the City of Women – are contrasted by my heroine. She is a critic and doubter who tries in vain to adapt to the circumstances without losing her autonomy and dignity. But it is made clear to her that this can no longer be done – the price of adaptation would be the abandonment of her critical attitude towards the world.” Tatjana Turanskyj

The publication is published as a memorial and a call to “carry on” (weitermachen*) on the first anniversary of Tatjana Turanskyj’s death on 18 September 2022.

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The texts selected for publication focus on central issues of feminist film work, economic and legal conditions and, above all, their structural conditions in social relations and the radical critique of them.

In the publication, the reprints of the texts from “Frauen und Film” are accompanied by a conversation between Helke Sander and the film scholar Elena Meilicke on the beginnings and the context of the journal’s development. In order to additionally illustrate the close connection between the practice of writing and the cinematic work, excerpts from a working version of the screenplay of Die allseitig reduzierte Persönlichkeit – Redupers are published for the first time.

The publication makes Sander’s texts, in both analogue and digital versions, accessible for the ongoing debate on production conditions and gender relations for subsequent generations of artists.

Scriptings’ reader format “Political Scenarios” is published in collaboration with Archive Books and the e-book publisher EECLECTIC. The aim is to publish carefully selected scripts and texts by artists that refer neither to academic nor to purely literary forms of writing, but embed “text” as an integral part of a contemporary political art practice.

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